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Ruben Östlund’s museum-set satire contrasts the prestige of high culture with the thankless work of helping people, with unpredictably uncomfortable results, writes Violet Lucca.
Thursday 15 March 2018

The Swedish director’s filmed staging of the classic opera is back in cinemas. On its first release in 1975 Peter Cowie hailed it as a witty, rumbustious production saturated with childlike joy.
Friday 16 March 2018

The threatened sale of the south London premises of the Cinema Museum would sacrifice a rare, grassroots collection of cinephile memorabilia – and a key community resource – to the forces of property speculation, write Matthew Harle and Jack Wormell.
Friday 16 March 2018

The dumping-to-Netflix of Alex Garland’s women-led sci-fi thriller Annihilation, like the elided matriarchies of Wonder Woman, Thor: Ragnarok and Godless, suggests that cinema’s gatekeepers still aren’t ready to see any vision of women in charge, says Charlotte Richardson Andrews.
Thursday 15 March 2018

The Brazilian director’s debut film, a quasi-fictional portrait of his neighbourhood in the Brazilian city of Minas Gerais, is playing at the Chronic Youth Film Festival in London. He talks religion, James Joyce and putting his home on the cinematic map with Laura Davis.
Friday 16 March 2018

Warwick Thornton upends The Searchers with this deftly shaded and powerful account of the hunting of an indigenous couple wanted for the murder of a white man in the 1920s Australian outback, writes Jason Anderson.
Monday 12 March 2018

Tramway Glasgow’s retrospective of 20 years of the trans-Atlantic artist’s movies brings together her major works, minor and marginalia, and even a live performance of 2017’s Mm, into a marvellous whole, says Matt Turner.
Saturday 10 March 2018

The snow may have cancelled some screenings this year, but these three notable debut features by local filmmakers warmed up a festival whose global clout is steadily increasing, writes Josh Slater-Williams.

While male ‘buddy’ movies are a genre to themselves, films about women’s relationships are remarkable for their scarcity – to say nothing of those that dare to depict the bonds of female kinship in the round, writes Hannah McGill.

With a curl of her lip and an arch of her eyebrow, Gloria Grahame was the actress who stood up to both Humphrey Bogart and Lee Marvin in their most violent roles. In this video essay, Serena Bramble explores the burn mark Grahame left on the silver screen.